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The modern woodcut movement in the 1930s is one of the most significant segments of twentieth-century Chinese art appeared in the extremely complicated period.
In China, the 20th century was a time of rupture and upheaval in the cultural and political sphere. From the end of the nineteenth century, the aggressive imperial powers competitively depredated the economical rights, and began to extend their influence on China. Consequently China fell into the semi-colonized status under the western powers’ territorial partition, economical invasion and political, military supervision.
The modern woodcut movement is revealing of the struggles and issues facing the artists of the time, and this article examines the modern woodcut movement as a process of disengagement from the colonial syndrome from which China was inescapable.
Although the woodcut was invented in China, it was almost forgotten tradition to the young artists in the early twentieth century. Lu Xun, famous writer, art collector, and amateur designer, played the most important role as mentor and as patron of woodcut movement. His interest in Chinese illustrated books and antique rubbings expanded to European prints, and he began to introduce and promote woodcut prints as a new form of artistic expression that seemed to be an ideal medium through which to expose the social and political problems that Chinese should be striving to overcome.
In his promotion of woodcut art, Lu Xun emphasized importance of returning to Chinese traditions for inspiration. He advised the young woodcut artists to combine Western styles with the line of Han dynasty reliefs, superb techniques and materials of Ming and Qing book illustrations, and New Year pictures appreciated by the common people.
The parti챠pants of the woodcut movement believed that prints, with their strong contrasts of light and dark, are the art form best suited to expressing profound emotions and representing images of human life and society. During the Sino-Japanese war, prints were also used as a means of keeping up the spirit of resistance against Japanese aggression.
Lu Xun and the young woodcut artists saw their art as an end it itself, and as a means of saving china’s cultural heritage and pride. Therefore, the woodcut movement can
be interpreted as the history of decolonization in which intellectuals and artists tried to save Chinese from becoming colonized people who in his soul has “an inferiority complex created by the death and burial of its local cultural originality.”
In China, the 20th century was a time of rupture and upheaval in the cultural and political sphere. From the end of the nineteenth century, the aggressive imperial powers competitively depredated the economical rights, and began to extend their influence on China. Consequently China fell into the semi-colonized status under the western powers’ territorial partition, economical invasion and political, military supervision.
The modern woodcut movement is revealing of the struggles and issues facing the artists of the time, and this article examines the modern woodcut movement as a process of disengagement from the colonial syndrome from which China was inescapable.
Although the woodcut was invented in China, it was almost forgotten tradition to the young artists in the early twentieth century. Lu Xun, famous writer, art collector, and amateur designer, played the most important role as mentor and as patron of woodcut movement. His interest in Chinese illustrated books and antique rubbings expanded to European prints, and he began to introduce and promote woodcut prints as a new form of artistic expression that seemed to be an ideal medium through which to expose the social and political problems that Chinese should be striving to overcome.
In his promotion of woodcut art, Lu Xun emphasized importance of returning to Chinese traditions for inspiration. He advised the young woodcut artists to combine Western styles with the line of Han dynasty reliefs, superb techniques and materials of Ming and Qing book illustrations, and New Year pictures appreciated by the common people.
The parti챠pants of the woodcut movement believed that prints, with their strong contrasts of light and dark, are the art form best suited to expressing profound emotions and representing images of human life and society. During the Sino-Japanese war, prints were also used as a means of keeping up the spirit of resistance against Japanese aggression.
Lu Xun and the young woodcut artists saw their art as an end it itself, and as a means of saving china’s cultural heritage and pride. Therefore, the woodcut movement can
be interpreted as the history of decolonization in which intellectuals and artists tried to save Chinese from becoming colonized people who in his soul has “an inferiority complex created by the death and burial of its local cultural originality.”
목차
1. 머리말
2. 목판화운동의 배경
3. 노신과 목판화
4. 1930년대 목판화운동의 전개와 목판화의 양상
5. 맺음말
참고문헌
Abstract
「1930년대 중국의 목판화운동」에 대한 질의(이주형)
이주형 선생님의 질의에 대한 답변(박은화)
참고문헌 (0)
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